What does it mean to curate public programming instead of curating exhibitions?

Effective public programming is a process of becoming. So that publicly we engage with these issues the same way two people of mutual respect enter a conversation.  Therefore, there is no way of knowing when or how our commitment to these issues will end. The extent of the public’s participation in these issues should be the deciding factor of how long a public programming initiative continues to address an issue. By a gallery space forcing itself into a public position of service to these issues it necessitates a fundamental power shift, and mandates that its programming be responsive to a growing public interest for balanced social engagement through talking and participatory programming.  This re-ordering of values necessitates a foregrounding of curatorial accountability, reciprocity, and exchange that forms the basis of a gallery’s social life, and by extension, its social values.

Public programming can be just about anything that is open to the public to attend and contribute to.  In my view, the purpose of public programming is to connect people to people in a public forum around larger issues that we care about.  Because I work for an art gallery – it makes sense that this programming has something to do (however peripherally it may be) with an aesthetic or creative dimension of that issue that has been overlooked or has not been sufficiently researched.

Why not just do exhibitions?

Don’t you care about artists? Isn’t that what you’re here for?

Who is doing this?

How can I get involved in this?

Who paid for all this?

Lost in a Sea of Questions?

Are you still doing this?